SUMMARY OF PROCEEDINGS ON RAGAS ARABHI AND DEVAGANDHARI HELD ON 18TH JULY
2001:

Introduction and Historical
Background (Dr. V V Srivatsa): Dr. V V
Srivatsa stressed on the point that it would be more appropriate to call these
two ragas as parsva ragas, since they had different structures, scales,
aesthetic appeal and musical values. While Arabhi is an Audava-Sampoorna raga
that has been in existence for more than 1,200 years, Devagandhari, a janya of
the 29th mela, Dheerasankarabharanam is a bhashanga (since it has two
varieties of Nishada - Kaisika and Kakali), desya raga. References to
Arabhi are found in various musicological texts like Ramamatya's Swara-mela
kalanidhi, Venkatamakhi's Chaturdandi Prakasika, Shahji's Raga
Lakshana, Tulajaji's Sangeeta Saramrita and Govindhacharya's Sangraha
Choodamani. The Pann Pazhantakka of Tevaram music, which is of great
antiquity is the counterpart of raga Arabhi. Stating that many verses of Tiruchaazhal
and Tiruvachakam were rendered by Oduvars traditionally in Arabhi,
Dr. Srivatsa rendered a verse from Tiruchaazhal. Popular Tevaram verses
like Marai udaya and Maadarpirabani were usually rendered in raga
Arabhi, he added.

Dr. Srivatsa further stated that
raga Arabhi appears to have preceded raga Devagandhari. Subbarama Dikshitar has
termed Devagandhari as a Desya raga. However, the absence of a Lakshana sloka
for raga Devagandhari in the Sampradaya Pradarsini is noteworthy. It
would not be correct to construe Devagandhari as the folk version of Arabhi.

The prime differentiating factor
would be in the Gandhara note - whereas Arabhi has an 'alpa' Gandhara,
the same note is elongated in Devagandhari. The Nishada note is also alpa
in Arabhi, where one can even exclude it in phrases like SSdpmgr, e.g.,
Tyagaraja's well-known Pancharatna, Sadhinchane. Also, the former seems
to have more of middle tempo or madhyama-kala compositions, while Devagandhari
is more suited for slow or vilamaba-kala kritis. These ragas attained importance
by virtue of the profusion of compositions in them. Nevertheless, Arabhi had a
special status as one of the first five ghana ragas and is well-suited for
rendition of Gadya, Padya, Choornika, Dandaka etc. Both ragas are outfaced in
Ragamalika pieces.

Manodharma (V Subramanyam): Concurring
with Dr. Srivatsa, V Subramanyam pointed out that the subtle distinction between
ragas Arabhi and Devagandhari warranted honing of one's manodharma skills.
Alapana of Arabhi can be done to a reasonable extent. However, the effervescence
of Arabhi comes out better in jested swara passages, especially in datu and
janta forms. Swara singing in Arabhi has to be punctiliously phrased, duly
bearing some statutory phrases.

V Subramanyam highlighted his points
with appropriate illustrations of the ragas, mostly showing how to avoid the
pitfalls of ending up in the other while singing one. His illustrations included
a raga alapana, and swara rendition of Arabhi, an alapana of Devagandhari,
followed by Tyagaraja's masterpiece, Karuna samudra in the latter. At the
end of this, Dr. V V Srivatsa added that Arabhi conveys Veera rasa (valour)
and at times, Roudra rasa (fury) while Devagandhari gives the impressions
of Santa (peace), Karuna (kindness) or Adbhuta (surprise or
awe) rasa-s.

Compositions (Dr. Ritha Rajan): Dr.
Ritha Rajan commenced her presentation with excerpts from the Lakshana Gitam,
followed by a broad based presentation of passages from the Tana Varnam, Sarasijamukhiro.
Talking about the melodic aspects with particular emphasis on the compositions
in both these ragas, Dr. Ritha Rajan said that variety-wise, Arabhi definitely
had more to offer as there is almost every kind of musical form in it - Gitams,
Divyanama keertanas, Varnams, Kritis, Tevarams and Geyanatakas. She sang
passages from Tyagaraja's Ipudaina nannu,Amba Nannu, O! Rajeevaksha
and Tsalakalla, Dikshitar's Sri Saraswati and Swati Tirunal's Pahi
parvata. Emphasizing the roles of Rishabha, Madhyama and Panchama swaras,
she cited passages with these as graha swaras.

On the other hand, she said that one
finds that Devagandhari has been predominantly used for Kritis, Geyanatakas,
Padams and Viruttams. One also finds abundant usage of Janta swara patterns
in the compositions in Arabhi, but the same is not very suitable for
Devagandhari. A very valid and important point that Dr. Rajan made was that
although Devagandhari is labeled a vilamba-kala raga, Tyagaraja, the great
composer, has composed two madhyama-kala kritis, Karuna samudra
and Vinarada naa manavi. Similarly, he has gone off the beaten track with
Namoralanuvini, in Arabhi, which is usually rendered in vilamba-kala.
Her points gained weight when she substantiated them with appropiate
illustrations.

Utilitarian values (Prof. S R
Janakiraman): Prof S R Janakiraman gave a
very well-informed and authoritative presentation, quoting from several
well-known musicological texts like Govinda's Sangraha Choodamani and
Subbarama Dikshitar's Sangeeta Sampradaya Pradarsini. He said that Arabhi
being a very old raga and having roots in Tamil music (where it was called
Pazhamtakka Pann), one had the advantage of finding several old folk tunes in
it. Many subsequent composers have adopted several phrases from these tunes. He
felt that although one found different scales for Devagandhari in different
treatises, it is a raga that does not rest much on scales. It is a very emotive
raga that required bhava.

Prof. Janakiraman mentioned the weak
usage of Gandhara in Arabhi and the emphatic usage of the same in
Devagandhari. Citing the emphasis on "ma-ga- ri", he dealt in a
dilative manner, the phrasal difference between ragas Sama and Arabhi. He also
referred to the means to distinguish between Suddhasaveri and Arabhi.

The educative panel discussion
concluded delightfully with two thematic concerts - one on Arabhi by young
Palghat Ramprasad and the other on Devagandhari by Vasundhara Rajagopal.
Accompaniment for Ramprasad was provided by V V Ravi (violin) and Palghat Suresh
(mridangam), while R Hemalatha (violin) and B Ganapathyraman (mridangam)
supported Vasundhara. All the artistes acquitted themselves very well.

NOTES ON ARABHI AND DEVAGANDHARI BY
DR. V V SRIVATSA:

Cognizance of unity in diversity and
diversity in unity is integral to Indian ethos. This dictum prevails even in the
realm of classical music. Carnatic music is enriched by this facet. We have
proximate or highly proximate ragas which are bound by the aforesaid rule. They
can be termed as parsva ragas. The similarities and differences in a pair
of parsva ragas is more akin to differential valencies of the same
element, as in Chemistry, rather than face-centered or body-centered crystalline
characteristics of Physics. It would be apt, at this juncture, to quote an
Upanishadic passage:

Meaning, two birds, with beautiful
wings, born at the same time were inseparable companions and they perched
themselves on the same branch of a tree. However, only one bird tasted the
Pippala fruit, while the other sat merely watching.

Such is the case of the pair
of ragas, Arabhi and Devagandhari. They are derived from the same melakarta.
Their superficial swara structure appears to be identical. Devagandhari is
tainted with the absorption of an anya (extraneous) swara, like the
Pippala fruit. Arabhi remains an Upanga raga and Devagandhari, a Bhashanga raga.
The aesthetic values of these two ragas have distinct and salient differences.

Raga Arabhi has been in vogue for
about 600-700 years and has retained its pristine purity. The earliest
tangible references is found in the Chaturdandi Prakasika:

The Chaturdandi Prakasika names the raga a
Arabhi with a hrasva (short) end. The Sangraha Choodamani calls it
"Aarabhee", with a deergha (elongated) end. Which is the
correct nomenclature? If we look to the raga-mudras found in Dikshitar's
compositions, we find that he has used the name with the deergha end in two
compositions and the name with the hrasva end in one composition:

Emulating Dikshitar, let us accept both names.
What is there in a name? Arabhi is Aarabhi is Aarabhee!

It is interesting to note that a highly
generalized observation, "Kvachid aaroha samyukta nishaado"
(there is occasional usage of the Nishaada in the ascending scale) is made in
the Chaturdandi Prakasika. The Sangraha Choodamani is more
specific on this issue, referring only to "Sa-ni-Sa". As both texts
agree that Gandhara and Dhaivata swara are absent in the Arohana, it is inferred
that "dha-ni-sa" is not permitted in raga Arabhi. So, this raga
assumes an audava-sampoorna form. The constituent swaras (other than Shadja and
Panchama) are Chatusruti Rishabha, Antara Gandhara, Suddha Madhyama, Chatusruti
Dhaivata and Kakali Nishada. As all these swaras are found in the derivative
melakarta Sankarabharanam, Arabhi is duly classified as an Upanga raga.

Many ragas prescribe the same scale as Arabhi for
Devagandhari as well, with the qualification that traces of Kaisiki Nishada are
found in the sanchara "dha-nee-dha-pa", wherefore, Devagandhari
becomes a Bhashanga raga. Some musicologists do not agree with this postulation
and state that if rendition is "dha-ni-dhaa-pa" with an elongated
Dhaivata and a short Nishada instead of "dha-nee-dha-pa" with a short
Dhaivata and an elongated Nishada, there would be no scope for the introduction
of Kaisiki Nishada in raga Devagandhari. Does this imply identity? No. Subbarama
Dikshitar does make a distinction and has laid down the swara scales for
Devagandhari as follows:

The vakra sanchara "sa-ri-ga-ri-sa", is another safety factor,
distinguishing Devagandhari from Arabhi. Some musicologists move a step further
and define Devagandhari as an Ubhaya-vakra raga with the understated swara-scale,
to significantly segregate it from Arabhi:

This version does not accept the "dha-ni-sa" taboo in raga
Devagandhari and uses it as a feature to distinguish Devagandhari from Arabhi.

There are other terrestrial and subterranean
differences between these ragas. The Gandhara is a very weak, alpa
swara in Arabhi. Hearing the Gandhara in conjunction with the deergha Madhyama
swara in Arabhi makes one wonder whether the Antara Gandhara is present at all!
In Arabhi, the Gandhara cannot be used as a nyasa, amsa or graha
swara. Devagandhari affords more scope for the Gandhara swara. Look to the
flight from Madhyama to Gandhara in Devagandhari without jaru but
with odukku. What we hear in Devagandhari is the version of Teevra
Antara Gandhara swara. If Gandhara had no value will the raga have the
suffix "Gandhara"? The importance given to the Dhaivata swara in raga
Devagandhari is reduced when coming to raga Arabhi. Rishabha is an important
swara in both ragas, yet with a difference. It shines in Arabhi when used
in janta prayoga, and appears embellished in raga Devagandhari in the descending
order in sancharas like "pa-ma-ga-ree". Note the state of the Gandhara
and Nishada swaras in the descending order, Avarohana krama, in raga Arabhi.
They are always used without "irakku-jaaru" and only with
"odukkal". This is a regulation in Arabhi. This limitation is
not found in Devagandhari. Arabhi sparkles with usage of datu and janta
swaras. Devagandhari does not. Arabhi affords ample scope for rendition of Tanam
whereas it is anathema in raga Devagandhari. Arabhi is a raga which is vivante
and ebullient in medium or fast tempo compositions and is unsuited for slow
tempo. Devagandhari is ideally suited for vilamba kala, slow -tempo.

Arabhi presents a deceptive appearance, it
appears to afford ample scope but in reality, is barred by limitations.
For example, swara sancharas like "pa-pa-ma-ga-ri" or "dha-dha-pa-pa-ma-ga-ri"
or "ree-ma-ga-ree" are usually rendered and appreciated . However, in
Arabhi, you cannot render sancharas like "pa-pa-ma-ma-ga-ga-ri-ri" or
"ma-ga-ga-ri-ri-sa". The Nishada swara is elusive in Arabhi and some
musicians avoid it. Mention has to be made of the fact that one version of the
Pancharatna kriti Sadhinchane does not have any Nishada usage. Sancharas
like "Sa-Sa-dha-dha-pa-pa-ma-ga-ri" or "dha-Sa-dha-pa-ma-ga-ri"
are hallmarks of Arabhi. However, note the "ma-ga-ri" limitation.
Indeed, Rishabha, Madhyama and Dhaivata are the raga-chaya swaras of Arabhi.
Normally, Rishabha is used as nyasa in the Avarohana krama in Arabhi. Yet we do
have Rishabha as nyasa in Arohana sancharas too. Examples, "ma-ga-ri-sa-ri",
"ri-pa-ma-ga-ri-sa-ri" or "dha-pa-ma-ga-ri-sa-ri". The
interesting feature is that in all cases where Rishabha nyasa in Arohana Krama
is found, it is preceded by an Avarohana krama.

Arabhi is raga with a wide range from Mandra
Dhaivata to Tara Panchama swara. Yet one has to be very careful in alapana, if
repetitive phrases are to be avoided. Devagandhari, normally, is not brought
into the Mandra sthayi. It is preferable to limit Devagandhari to Tara sthayi
Madhyama. Some may be quick to point out that audiences were regaled when the
Tara Panchama at "Taaraka Naama"(Ksheerasagara sayana)
was touched in a yesteryear 78 rpm gramophone record. This indeed is a point of
view, with divergence. Arabhi is a raga which is oriented more towards swara
and laya, whilst Devagandhari is highly bhava-oriented.

The repertoire available in raga Arabhi is vast
and multi-dimensional. Of the three Tana Varnas, Sarasijamukhiro by
Pallavi Doraiswamy Iyer is a masterpiece and Anname by Tiger
Varadhachariar is well-known. Arabhi is one of the select 28 ragas in which
there is at least one composition by each member of the Carnatic music Trinity.
Of the dozen compositions by Tyagaraja, Sadhinchane, Nadasudharasam, Chootamu
ra re and Tsalagalla are frequently rendered; lovely songs like O!Rajeevaksha and Ipudaina nannu are seldom heard. There are eight
compositions by Dikshitar in Arabhi. Majestic songs like Marakoti lavanya,
Akhilandeswaryai and Sivakameswaram are regrettably sidelined, Sri
Saraswati and Ganarajena are infrequently rendered. Very few know,
much less are conversant with the crisp and short composition by Syama Sastri Palayasumam
Paradevate.

Swati Tirunal's Pahi Parvatanandini and Narasimhamamava
are popular. Orukkal sivachidambaram is of pre-Trinity vintage, while
Sesha Iyer's Palimpa ravadela is post-Trinity fare. Papanasam Sivan
has composed a quartet in Arabhi. Oothukaadu Kavi's Marakatamanimaya has
a place of pride in Kuchipudi. Other composers who have used raga Arabhi
are Narayana Teertha, Muthaiah Bhagavatar, Neelakanta Sivan, Balamuralikrishna,
Ramraj, G S Mani and Sundararaja.

There are just about 20 compositions in
Devagandhari, compared to seventy plus in Arabhi. As usual, ten of these are by
Tyagaraja, including compositions like Namoralagimpavemi, Karuna samudra,
Seetavara ,Vinaradana manavi and of course, Ksheera sagara sayana.
Mention has to be made of Koluvaiyunnade and Tulasamma.
Dikshitar's four kritis in Devagandhari include Kshitijaramanam and Vadanyeswaram.
Gopalakrishna Bharati's Enneramum and Papanasam Sivan's "Sarade
vina vadana" are excellent pieces. Mention must be made of Mysore
Sadasiva Rao's Dorekanu nedu and Vedanayakam Pillai's Ekkalavum.

Arabhi-Devagandhari are only a set of parsva
ragas and belong to the genre of Janaranjani-Poornachandrika, Kurinji-Navaroze,
Manji-Bhairavi, Dwijavanti-Sahana, Ghanta-Dhanyasi etc. Carnatic music is
great if not divine. Structural similarity is of secondary importance - a small
difference can bring about variegated and ethereal aesthetic hues and different
musical strokes. If this difference was not perceived, codified and exploited,
how many ragas would have been missed? Just imagine! Vive la difference!

VIGNETTES IN ARABHI AND
DEVAGANDHARI Dr. V V Srivatsa

Arabhi:

The sahitya of the Tyagaraja kriti O!
Rajeevaksha includes a passage "Ma vara suguna Uma vara sannuta".
Ma refers to Laksmi and Uma to Parvati. This passage has been
emulated by Papanasam Sivan in the composition 'Ma ramanan uma
ramanan' (Hindolam).

Many are aware of Tyagaraja's ghana raga
Pancharatna kritis, including Sadhinchane in raga Arabhi. However
very few are aware of the fact that Muthuswami Dikshitar has composed five
songs on Ganesha in the five ghana ragas (of the first list) collectively
called as the Ganesha ghana raga Panchaka. They are MahaGanapatim
(Nata), Sri Mahaganapati (Gowla), Lambodaraya (Varali), Mooladharachakra
(Sriragam) and Ganarajena samrakshitoham (Arabhi). Ganesha is
portrayed in the Arabhi song as a Brahmachari.

Once upon a time, Tiruvenkkadu, in
Nagapattinam district was a famous centre of music and boasted of many
top-rank Nagaswara vidwans. Renditional rules were laid down and
strictly observed in this temple. Tiruvenkkadu or Swetaaranya {sweta
- ven - white; aranya - kaadu - forest} is one of the 64
pilgrimage centres praised by Dikshitar. The kriti Swetaaranyeswaram
is in raga Arabhi.

The seven swaras seem to be the bells tied to
a bow called the raga. Musical types ghana, naya, desya are the strings of
that bow. Arrows used are the gati-s of the tala. This is a beautiful
allegory portrayed by the nadopasaka, Tyagaraja, in the charana
passage of the kriti Nada sudharasam in raga Arabhi.

Tyagaraja calls Lord Rama as a liar in his
kriti Tsalakallaladu konna sowkhyam emiraa (what comfort do you get
by uttering lies?). This Arabhi kriti is one of his ninda stuti-s.

Chootamu ra re is indeed a song about
Lord Ranganatha. However, the sahitya indicates that it could have been
rendered outside Srirangam. It is only by virtue of award of
benefit of doubt that this song can be classified under the head Sriranga
Pancharatnam. The mystery of this song is that Tyagaraja calls only on
beautiful ladies, that too young (tarunulara) to accompany him to
Srirangam. It would be blasphemous to attribute dishonourable intentions to
a saint. If so, is this a case of nayaki bhava?

Devi is described as "Kaala
kaala vallabhe" - the consort of the Lord who turned out to be kaala
(killer ) of kaala (lord of Death). This delectable expression
is found in Syama Sastri's kriti, Palayasumaam in Arabhi.

There are some nice compositions in raga
Arabhi, where composers are not identified beyond doubt. They are, Ati
madhura, Saranam sriguru, Gananatham and Eppadi senru.
Information and feedback from readers would be very welcome.

There are only four shrines which are credited
with compositions by all three members of the Carnatic music Trinity.
Similarly, there are four shrines to which both Tyagaraja and Dikshitar have
dedicated compositions - Tirupati, Srirangam, Tiruvayyar temple (Pranatarti
hara sannidhi) and Tiruvottiyur. The Siva enshrined in the Tiruvottiyur
temple, Adipureeswara is praised by Dikshitar in the kriti Adipureeswaram.
Devi Tripurasundari of the same temple is extolled by Tyagaraja in the kriti Sundari
ninnu karunimpa. Both these compositions are in Arabhi. No other
temple can boast of Siva and Amba having been praised by Trinitarians
through compositions in the same raga.

The famous Tiruppavai verse Ongi
ulagalanda is usually rendered in Arabhi.

Devagandhari:

One of the three references to Bhadrachala
Ramdas by Tyagaraja is found in the composition Ksheerasagara sayana
in raga Devagandhari.

Rama is described as Manmatha among Manmathas.
Recall the sloka describing Vishnu as "Saakshaat manmatha manmatha"?
The lovely sahitya is found in the Tyagaraja kriti "Sri Raghuvara
karunakara" in raga Devagandhari.

Astrologers talk about "udu-dasa".
What is this? We know of the town called Udupi with the famous temple. Where
did it get its name from? What does the word "udu" mean? Tyagaraja
uses the expression "udu raaja mukhudu" in a composition, Koluvaiyunnade
in Devagandhari. Rama is described as moon faced. The moon is the Lord of
the stars, 'Uduraja'. (Udu means star).

Seetavara sangeeta was a favourite
kriti of the maestro, Naina Pillai. regrettably this lovely kriti in raga
Devagandhari is slowly fading into oblivion. Lovely renditions thereof by
Madurai Mani Iyer and D K Pattammal are still ringing in the hearts of
rasikas. Some scholars disagree with Tyagaraja's expression, "Geeta
aadi akhila upanishad", stating that the Bhagavat Gita is a part of
Mahabharata and is ithihasa (history), not an Upanishad (scripture).
Supporters of Tyagaraja cite the sloka "Sarva upanishad gaavo,
doghda gopala handana, partho vatsaha sudhee bhokta, dugdhana geeta amrutam
mahat". The inference is left to the readers.

Tyagaraja has visited Srirangam twice, once
during the Adhyayana utsava in Marghazhi and once on Vijayadasami,
when Lord Ranganatha's Utsava moorti is mounted on the aswa (kudirai)
vahana. In the Devagandhari kriti, Vinarada na manavi, he
describes the Vijayadasami procession as "Teji nekki baaga teruvunna
raaga" - meaning, "How beautifully the procession with the
Lord mounted on a horse, winds through the street!". Similar sentiments
are expressed in the Todi kriti, Rajuvedala, where you have the
passage "Teji nekki samasta raajulu".

The months of Aani and Aadi form the greeshma
ritu (mid-June to mid-August in summer) when temperatures soar. Weather
conditions in these months are uncomfortable and many temples avoid festive
processions to best possible extent. However, there are a few exceptions.
Avudaiyar Kovil is one, mainly because Manikkavachakar's birthday is Aani
makham. One temple which knowingly celebrates the annual festival, the
Brahmotsava in the month of Aani is the Salivatiswara (Nellai appar) temple
at Tirunelveli. With his penchant for fine details, Dikshitar has not missed
this fact. He sang "Vali poojitagreeshma mahotsavam", in
the kriti Salivateeswaram bhajeham in raga Devagandhari.

Arabhi and Devagandhari:

The term Kovil connotes ko-il - the
residence of the Supreme Lord. To Vaishnavaites, the word kovil relates to
the town of Srirangam. To Saivaites it means Chidambaram. The Vaishnavaite
and Saivaite koils have the honour of having a kriti each in ragas Arabhi
and Devagandhari. The Srirangam kritis are Chootama ra re and Vinarada,
in ragas Arabhi and Devagandhari respectively. The songs dedicated to
Chidambaram are Orukkal Siva Chidambaram (Arabhi) and Enneramum
(Devagandhari). Is this the exclusive privilege of these two kovils?
Curiously, both Srirangam kritis are in Telugu and both Chidambaram kritis
are in Tamil.

Traditional rendition of Gnanasambandar's
Tevaram verse Maadar piraik kanniyaanai by Oduvars, in the Pann,
Pazhanthakkam starts in chaste Arabhi and as passages towards the end, with
finite nuances of Devagandhari. How should we call this? Fusion music?

Notes: Arabhi is the third among the five
ghana ragas. It is derived from the 29th mela, Dheerasankarabharanam and is an
Upanga or homogenous raga. The notes taken are: Shadja, Chatusruti Rishabha,
Suddha Madhyama, Panchama and Chatusruti Dhaivata in the ascent. The Avarohana
or descent is sampoorna with all the notes including Antara Gandhara and Kakali
nishada. Thus Arabhi is an Audava-Sampoorna raga.

The chaya swaras are Ri, Ma and Dha. The
swaras Ri and Pa are nyasa swaras; Ga is a durbala or weak swara;
and Ri and Dha are kampita swaras. The graha swaras are Sa, Ri, Pa
and Dha. The note Ri being the jeeva or life-giving swara, phrases
endings on Ri sound very nice. The phrase mgrsr is a ranjaka or pleasing
one. Compositions usually begin on the notes Ri, Pa and Dha. The Sangeeta
Sampradaya Pradarsini places raga Arabhi as the third janya (upanga raga)
derived from the asampoorna mela 29, Dheerasankarabharanam.

This raga is highly suitable for madhyama kala
singing of alapana and tanam. Madhyama kala sancharas, janta (rr mm pp dd pp
mgrs R) and datu swara prayogas add charm and beauty to this raga. So are the
"ni" varjya prayogas in the avarohanam. Arabhi is suitable for
singing at all times of the day (sarvakalika raga) and can be rendered in
all three sthayis. It is considered an auspicious raga.

It was known as Pazhamtakka Pann in ancient Tamil
music. Some people refer to Arabhi as Patakambhavati. The musical treatise Chaturdandi
Prakasika refers to Arabhi as belonging to the Shadja grama group of ragas.
Arabhi renders itself to graha bhedam (modal shift of tonic). It is a
moorchanakaraka raga. Ri, Ma and Pa of Arabhi taken as Shadja results in the
ragas Abheri, Mohanakalyani, and Kedaragowla respectively. The third of
Tyagaraja's five gems (Pancaratna), Sadhinchane is in Arabhi. The Sangeeta
Sampradaya Pradarsini of Subbarama Diksitar lists the following pieces in
Arabhi - a lakshya gitam in dhruva/roopaka tala, a sanchari in matya tala by
Subbarama Diksitar and two krtis of Muttuswami Diksitar (Sri saraswati
namostute and Marakoti lavanya).

Some
Compositions in Arabhi

Gitam

Song

Tala

Composer

Re re sriramachandra

Triputa

-

Varnam

Sarasijamukhiro

Adi

Pallavi Doraiswamy Iyer

Amba Gauri

Adi

Iriyaman Thampi

Anname

Adi

Tiger Varadachariar

Kritis

Srisaraswati

Roopaka

Muthuswami Dikshitar

Adipureeswaram

Adi

Muthuswami Dikshitar

Gowrisaya namaste

Triputa

Muthuswami Dikshitar

Sivakameswarim

Adi

Muthuswami Dikshitar

Marakoti

Jhampa

Muthuswami Dikshitar

Ganarajena

Chapu

Muthuswami Dikshitar

Akhilanadeswaryai

Adi

Muthuswami Dikshitar

Swetaranyeswaram

Adi

Muthuswami Dikshitar

Sadhinchane

Adi

Tyagaraja

Ambaninnu

Adi

Tyagaraja

Sundari ninnu

Misra Chapu

Tyagaraja

Namoralanu

Adi

Tyagaraja

Tsalakalla

Adi

Tyagaraja

Chootamu ra re

Roopaka

Tyagaraja

Nadasudharasambilanu

Roopaka

Tyagaraja

O Rajeevaksha

Misra Chapu

Tyagaraja

Adugu varamula

Misra Chapu

Tyagaraja

Ipudaina nannu

Misra Chapu

Tyagaraja

Patiki mangala harayite

Adi

Tyagaraja

Ninne nera namminanu

Misra Chapu

Tyagaraja

O Rama o rama

Adi

Tyagaraja

Sundara dasarathanandana

Adi

Tyagaraja

Palukavemina

Tisra Laghu

Tyagaraja

Palayasumam paradevate

Triputa

Syama Sastri

Narasimha mamava

Khanda Chapu

Swati Tirunal

Sriramana vibho

Adi

Swati Tirunal

Pahi parvatanandini

Adi

Swati Tirunal

Vichintayanneva

Adi

Swati Tirunal

Madhu kaitabha

Roopaka

Muthaiah Bhagavatar

pasupatim ughram

Khanda Chapu

Muthaiah Bhagavatar

Ayyappanai panivom

Adi

Papanasam Sivan

Durgalakshmi Saraswati

Adi

Papanasam Sivan

Marakatamanimaya

Adi

Oothukkadu Venkata Kavi

Sakalalokanayike

Adi

Oothukkadu Venkata Kavi

Pranavakaram

Adi

Oothukkadu Venkata Kavi

Orarumukhane

Adi

Neelakanta Sivan

Kelada ravanane

Adi

Arunachala Kavi

Parilum arulvaye

Adi

Periyasami Tooran

Velava va adiyen

Roopaka

Koteeswara Iyer

Mrokkedani

Triputa

Mysore Sadasiva Rao

Maravanu ne ninne

Roopaka

G N Balasubramanyam

Gangadhara rama ni

Adi

Tulasivanam

Vighneswara

Roopaka

Tulasivanam

Data hariye

Roopaka

Purandaradasa

Haridasara sanga

Roopaka

Purandaradasa

Papigalola gallu

Adi

Purandaradasa

Jayatujayatu (Choornika)

-

Tyagaraja

Additional notes: Arabhi also appears in
the ragamalika swara segments in Pallavis or more often in the tanam portion,
when all the five ghana ragams are rendered. There doesn't seem to be any
Tillana or Javali in the same. This may be due to the fact that Arabhi is more
appropriate as an opening or middle order raga in a concert and does not feature
in kritis rendered during the post-main segment. Arabhi is also featured in
several Ragamalikas. Muthuswami Diksitar has skillfully employed the raga mudra
(name of the raga) in his compositions. For example, in the kriti 'Srisaraswati
namostute', we fine the word "Arabhi" hidden between the words
"samsara-bhityapahe". He uses "samsara-bhitibanjanayai"
in the song 'Akhilandeswaryai'. In the kriti 'Marakoti lavanya',
we find Arabhi concealed in the phrase "mohakara-bhikshatana".
The famous ragamalika, 'Arabhimanam by Tarangampadi Panchanada Iyer
appropriately begins with Arabhi, with the raga mudra in the opening phrase
itself.

DEVAGANDHARI AT A GLANCE BY DR. P P
NARAYANASWAMI:

An audava - sampoorna raga, janya of the 29th
mela, Dheerasankarabharanam. Kaishika Nishada occurs as a Bhashanga swara.
Singing in chowka kala (slow tempo) brings out the beauty of this raga. The chaya
swaras are Dha, Ga and Ni. This raga evokes veera rasa (valour) and
portrays heroic deeds. The kampita swaras are Ri and Dha. Teevra or very
sharp Antara Gandhara or Chyuta Madhyama (Pythegorian major third) and Teevra
Kakali Nishada or Chyuta Shadja (Pythegorian major 7th) occur in the phrases:
'ma-ga-ri' and 'sa-ni-dha' when sung in vilambita kala. A sarvakalika gamaka
pradhana raga mentioned in Narada's Sangeeta Makaranda. Janta swara
prayogas are absent. Both Trisruti Dha (5/3) and Chatusruti Dha (27/16) figure.

Devagandhari has practically the same swaras as
Arabhi, the diffference being the occurrence of Kaishika Nishada. In contrast
with Arabhi, chowka kala prayogas are characteristic to Devagandhari. Greater
stress is given to Gandharam and Kakali Nishada.

In the Asampoorna paddhati, Devagandhari is classified as janya number 8
of Dheerasankarabharanam (29).